Christa Heschke graduated from Binghamton University with a major in English and a minor in Anthropology. She started in publishing as an intern at both Writers House and Sterling Lord Literistic, where she fell in love with the agency side of publishing. Christa has been at McIntosh and Otis, Inc. in the Children’s Literature Department since 2009 where she is actively looking for picture books, middle grade, young adult and new adult projects and is currently building her list. She is a fan of new adult and young adult novels with a romantic angle, and strong, quirky protagonists. In young and new adult, Christa is especially interested in contemporary fiction, horror and thrillers/mysteries. She’d also like to see  any steampunk and fantasy (urban and high), that pushes the boundaries of what’s currently on the shelves, perhaps a new take on these genres that has yet to be seen.  As for middle grade, Christa enjoys humorous contemporary, adventure and magical realism for boys and girls. For picture books, she’s drawn to cute, character driven stories.

1. What is the best part of being a literary agent?

There are so many wonderful things about being a literary agent. I’d say my favorite is experiencing the feeling that comes with finding something great, that you truly connect with, in the query pile. For me, when this happens a list of editors who I think could be a good fit for the project pop into my head. It’s an amazing feeling knowing that you can help an author get their work out there to readers. Writing a book is not easy and I am always so impressed to see the dedication and drive many writers have to their craft—their work becomes a part of them and I’m glad to be able to help as much as I can.

Being an Agent is also wonderful, as we get to be involved in the entire process from query letter to finished book, building an author’s career and every step in between. McIntosh & Otis is a full service agency so every day is different and exciting in its own way. I also handle foreign rights, subrights (audio, book club, etc.) contracts and film for M&O’s children’s clients.

2. How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

I am very hands on with my clients and pride myself in getting back to everyone in a timely manner. Of course things come up sometimes and I can’t respond as quickly as I’d like, but it’s important to me that everyone, whether they have a new project coming out or not, feels nurtured and are getting the time and attention they deserve. Part of being an agent is really getting to know all your clients beyond their writing and understanding what is important to them. For anyone I work with, I want them to know that any advice I give or suggestions I make are because I care about them and their careers—and I just ask that they consider and trust that. An agent-client relationship is all about listening to each other and feeling comfortable enough to have open discourses. If a client has any concerns I want to know. If they have suggestions for an editor to send a project to I’d love to hear it. It’s a partnership.

3. What’s something coming out now/soon that you’ve represented and are excited about?

I am a newer agent, so much of my focus currently is on building my client list, while also managing M&O’s children clients. It is such an honor to work with so many talented writers! I am very excited about a non-fiction picture book project with Houghton Mifflin. I represent the illustrator for the title. It’s in very early stages right now, but I will certainly be sharing more as it progresses. I also have a dark contemporary YA going through a revision that I’m eager to start submitting later this Spring. Too, I recently got back from the Bologna Children’s Book Fair, where I was pitching foreign rights, so it’s certainly an exciting time here. Foreign sales are another great source of income for authors!

4. What are the primary mistakes you see writers make in the query process?

Some of the mistakes I encounter are queries that aren’t addressed to a specific (or correct) person and “too long” query letters. I can’t say enough how important it is to do your research before querying agents and the best place to find the correct information is on the agency’s website, if they have one. Often sites like querytracker and agentquery can be out of date. A query letter should be written in a professional way in business format. I, on occasion, receive queries that say, “To Whom it May Concern” or “Dear Editor/Agent.” This to me says that you sent out a large multiple submission and didn’t take the time to think about who might be a good fit for your project. Research who at a specific Agency handles the type of material you write and address it to them, not the department or the agency in general. Remember when you’re querying you’re looking for someone you’d like to work with too, not just any agent who will offer representation.

Keep your query to a page and don’t give away the entire story in your letter. You want to give just enough to grab an agent’s attention, but not to the point where you’re taking out any element of surprise in your story or taking away from the reading experience. Anything longer than a page is too long and often won’t get read. You should have three to five paragraphs, an introduction, your pitch/info about the project, any pertinent info about yourself (other books you’ve written or have already been published, any other writing experience/credits) and a closing (thank you for your time, this is not an exclusive submission etc.) Also, include what you’ve enclosed with the letter (a synopsis, first pages, SASE etc.).

5. With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

One of the most important things to me when reading any project is the voice. If the voice isn’t there for me, even if there is non-stop action going on, I may not want to read on. A reader needs to connect with your main character pretty early on—we need to care about them. Also, manuscripts that are very description heavy/expository in the opening pages may cause me to start skimming to see if it picks up. I think it’s very important to include dialogue in the first few pages and try not to over-explain. Your protagonist’s entire backstory does not need to be known right away—in fact, it’s more compelling to reveal it bit by bit.

6. Your agency website says you’re interested in high fantasy, can you elaborate more on what you consider high fantasy?

I have always been a big fan of fantasy, for as long as I can remember, and working with writers on world building is something I always look forward to for any fantasy project, but I’m pretty selective when it comes to high fantasy. It can be hard for middle grade and young adult audiences unless it’s done really well. High fantasy would be any kind of fantasy that takes pace in a world distinct from our own. Most high fantasy is set back in a more “simple” age before technology—think knights and castles, magic and mythological creatures (dragons, elves, fairies etc.). It could also be a novel where a child from our time spends most of the book in a fantasy world, like The Chronicles of Narnia. Game of Thrones is high fantasy. The Last Unicorn. The Lord of the Rings. The Golden Compass. A good fantasy novel transports you to that world—I consider them “escape novels.”

7. We’re seeing small publishers and some self published authors producing bestsellers. What is your opinion of small publishers? Would you consider working with publishers outside of the ‟Big Five” or would you ever advise a client to self publish?

I think small publishers are great and I have no problem submitting to them. If I think a publisher is right for the book and will be dedicated to it (and my client agrees), that’s what’s most important. Editors at small publishers are generally acquiring fewer titles and thus often have more time to work on any given project. This is a big plus and one I definitely let my clients know when submitting. You don’t want your project to get lost among the many others an editor may be working on or behind what they consider their “big book” at the time (which can happen at a larger publisher). I suppose a downside could be that smaller presses might not have as many resources when it comes to marketing and publicity etc., but this isn’t always the case. Like you said, just because you’re published at a small publisher and not one of “the Big 5” doesn’t mean your book won’t become a bestseller!

Sure, self-publishing is always an option. I would just say that with self-publishing you, as an Author, really need to be able to dedicate the time to promote the book yourself and get the word out there.

8. Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

I think it definitely is important. I wouldn’t say it’s the end of the world if you don’t have much of an online presence, but if you don’t, your Agent or Editor will likely suggest you start one. We’re living in a digital world, and it’s very important to how we communicate. I will always Google someone whom I’m interested in representing— so it’s important that you make sure what online presence you do have is professional. A website, Twitter or facebook is a quick way to get to know someone and what they might be like to work with. Also, it’s a good way to start getting followers and fans before you even get your first book published. Because, then once you do, you already have a fanbase who will want to buy your book and will tell their friends about it. Even with a powerhouse publicity/marketing team behind your book, self-promotion is still important and can make a difference in sales. Don’t underestimate the power of social media! When you start building your online presence, just make sure you take the time to do it right. A lackluster or bad online presence, I’d say, is worse than not having one at all.

9. Will you be at any upcoming writers conferences where people can meet/pitch you?

I recently participated in the Writer’s Digest Pitch Slam on April 6th in New York City and the online WriteonCon Pitch Fest in March. Coming up, I will be one of the judges for the Pitch+250 contest on May 19th for pitches and first pages hosted by YA Adventures in Publishing. Follow me on Twitter @ChristaHeschke for up to date info on future conferences I’ll be attending.

10. Best piece(s) of advice we haven’t discussed?

Read in your genre and for the age-range you’re writing for. This market can be tough, so it’s important to know what other books are on the shelves. This can be helpful in two ways. 1) You can use other novels out there in your pitch. “My novel X is Y meets Z.” This is a quick and easy way to give those reading your query a sense of what to expect. But, be careful here. Don’t call your novel the next Hunger Games or Twilight (or any other big blockbuster title). Let the writing speak for itself. 2) It’s important to know what’s on the shelves to make sure your novel isn’t seen as too similar. For instance, if you wrote a story about the zombie apocalypse and there are 10 other books out there, it may be hard to get an editor’s attention unless there’s a big twist that makes it stand out. Don’t write for trends. By the time anything is trending it might be too late to be submitting a title in that genre. It generally takes a book 1-2 years to publish after it’s sold, so if there are already 10 zombie books, there may be another 10 before your book would even publish. Don’t be afraid to write outside trends, even if it’s tough. Write what you love and have to put on the page. Write for you! Your agent will take it from there.

Victoria Marini is the newest member of the Gelfman Schneider Literary Agency. Victoria can be found on twitter and her website which includes her blog, client list, query updates and more. She began taking on clients in 2010, and she has begun to build her own client list which includes literary fiction, commercial fiction, pop-culture non-fiction, and young adult. She is very interested in acquiring engaging Literary fiction and mysteries / suspense, commercial women’s fiction (romantic suspense, sci-fi, fantasy), and Young Adult (contemporary, sci-fi/fantasy, thriller and horror ). Above all, she is looking for anything with an engaging voice, compelling narrative and authentic characters.

1. What is the best part of being a literary agent?

Getting and delivering good news.

2. How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

I have an “open-door” policy. I’m transparent, honest, and cordial and I generally expect the same from my authors. Communicating with my clients is a priority.

3. What’s something coming out now/soon that you’ve represented and are excited about?

Oh man, so Steven Parlato’s THE NAMESAKE just came out and it’s heartbreaking and stunning and brilliant. Absolutely brilliant. Lucas Mann’s CLASS A comes out in May and I couldn’t be more thrilled. He’s going to be a literary powerhouse, truly. He was compared to Joan Didion and Gay Talese! He’s an absolute master of creative non-fiction. And Corey Haydu’s OCD LOVE STORY comes out this July and I. Can. Not. Wait. Corey is one of the most talented, original, stunning YA authors in a decade. She’s incredible.

4. What are the primary mistakes you see writers make in the query process?

Not doing their homework. And talking about themselves too much and their book too little.

5. With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

Any number of reasons. The plot gets too crazy. The plot gets too boring/slow. Multiple sub-plots aren’t connecting. I can’t understand why the characters are doing what they’re doing. There’s no mystery left, no sense of “what happens next!”

6. Your agency website says that you’re interested in young adult, can you elaborate more on YA subgenres that you might consider?

All of them, honestly. I love big, splashy, commercial or intimate and literary. I love sci-fi, fantasy, contemporary, horror, historical, and suspense. Some examples: I loved HEIST SOCIETY, CODE NAME VERITY, WHAT SHE LEFT BEHIND, CREWEL, BEFORE I FALL, THEN YOU WERE GONE, THE PECULIAR, LIAR, LOOKING FOR ALASKA, and I’m especially looking forward to 17 & GONE.

7. When accepting fantasy and sci-fi, what subgenres do you lean toward?

It’s hard to nail down, but think “Firefly” rather than “The Hobbit,” or as my friend and fellow agent Sarah LaPolla coined: “’Star Wars’” rather than ‘Star Trek.’”

8. Will you be at any upcoming writers conferences where people can meet/pitch you?

I’ll be at the Midwest Writer’s Conference in Muncie Indiana this summer, and I’m doing writeOn con, too.

9. Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

It depends on what you’re publishing. Non-Fiction Lifestyle / How-to/ Arts etc… yes it’s absolutely important. Fiction, I don’t generally care about platform, but I do think it’s essential to maintain an online presence to connect with your readers, peers, booksellers, industry professionals, etc…

10. Best piece(s) of advice we haven’t discussed?

Alright. Tough truth time: If you’re wondering whether or not something matters enough or is impressive enough to put in your query, it probably doesn’t and it probably isn’t.

Aspiring authors are terrified to just write “My name is Victoria Marini. SCENTED CANDLE is my first novel. I hope you enjoy it.” And I get it. You’ve been told that you need to stand out. But, I respond better to “I am an as yet unpublished writer,” than “ My book was published by [insert vanity press].” Or “and I have 5,000 twitter followers.” Or “I self-published and received several four star reviews.”

Caryn has been an agent with the Andrea Brown Literary Agency since early 2003, and has sold more than 175 books. She handles children’s books only: young adult and middle-grade fiction and non-fiction, chapter books, and picture books (fiction and non-fiction). She represents NYT bestselling authors, award-winning authors, debut authors, and authors at every stage in between. No matter the genre, Caryn is looking for books with emotional depth and a strong voice; excellent writing in a tightly-plotted, commercial story; and characters that stick with her long after she has closed the book. In YA, she gravitates toward books that make her think and toward books that make her cry; in middle-grade and chapter books, laughter tends to be the common thread. She loves books that are intellectually challenging and take risks, but in a very logical way. She wants to be surprised by interesting plot twists, but she never wants to question the motivations of characters.

Caryn is very drawn to speculative middle grade or YA fiction—whether contemporary with a very smart science fiction or light fantasy element, or a unique twist on paranormal or dystopian themes. Zombies, horror, and high fantasy will, most likely, not appeal. She would be thrilled to see more contemporary multicultural middle grade or YA—books that deeply explore another culture, as well as books in which the ethnicity of the character is not the issue. She adores a swoon-worthy romance with an intelligent heroine who isn’t simply swept off her feet by a hunky hero. She adores a sweet, funny or poignant middle-grade novel, with a great hook that makes it stand out from the crowd. She is always open to terrific children’s work that doesn’t fit these categories, however, as long as it makes her laugh, makes her cry, and keeps her awake at night, either reading the manuscript or thinking about it. A literary bent to a well-crafted commercial story in which ordinary characters find themselves in extraordinary situations would capture her attention. She loves lyrical, non-institutional picture book biographies, and children’s or teen nonfiction that reads like fiction; that has a great “story behind the story.” She does not represent adult projects. Please do not query her regarding adult work.

1. What is the best part of being a literary agent?

Fulfilling dreams! Telling an author that I’ve received an offer (or multiple offers) on their manuscript makes me giddy, and sometimes makes me cry (I’m a sap). Being part of the trajectory of a project from manuscript to actual physical book is amazing. After almost 10 years of agenting, I still get chills when I walk into a bookstore and see my clients’ books on the shelves. I also love to brainstorm with my clients, particularly when there are tough story issues to resolve.

2. How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

My personal agenting philosophy is to be honest and transparent with authors and with editors. I expect my authors to be honest in return. I only take on projects that I am passionate about. If I’m not passionate about your work, I’m not going to be able to sell it, even if it’s something commercial. I also hope that my authors will not be defensive, but will take time to think about editorial comments before responding negatively. This is a partnership, and it’s built on trust and mutual respect.

3. What’s something coming out now/soon that you’ve represented and are excited about?

THE GATHERING DARK by Christine Johnson is coming out on February 12th. It’s a YA novel that Booklist calls a “lusty romance made more so by its self-imposed repressed desire, a nod to astrophysics and the theory of dark matter, and a suspenseful adventure into another world, all grounded in references to classical piano repertoire.” Also, New York Times bestselling author Tom Angleberger’s Art2-D2′s Guide to Folding and Doodling: An ORIGAMI YODA Activity Book, will be out at the end of March. Kids are going to love it!

4. What are the primary mistakes you see writers make in the query process?

The biggest mistake that writers make is not following our submission guidelines. They are clearly spelled out on our website, and they are there for a reason. If you want me (or any of my colleagues) to take a look at your work, please follow the guidelines. Also, writers should personalize their e-queries. I only ask for exclusives for something that I’ve requested, so submitting to me exclusively is not going to increase your chances, and may delay your finding the right agent for you. Getting a query addressed to “Agent” or, even worse, addressed to the wrong agent, or more than one agent, is a big mistake. Submitting to more than one agent at our agency at the same time will usually lead to us all deleting it. We don’t want to waste our time. Finally, it is a big turn-off when writers don’t polish their query letters and/or pages. Have someone proofread your material. Watch grammatical and punctuation mistakes, and don’t write in text-speak. It makes you look unprofessional, and that puts you at a disadvantage. You only have one shot, so make it your best.

5. With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

I’ll stop reading at any point in a partial or full manuscript. It could be the first sentence; it could be the 200th page. A great voice can pull me in, but I’ll stop reading as soon as the story starts falling apart (and I’ll be sad and disappointed). A great story with page-turning pacing will keep me going, until I get to the point when I say “oh, come on!” and stop reading. A story that’s just plain boring, even if the voice is great, will turn me off when I get to the point that I realize nothing is going to happen.

6. Your agency website says that you’re interested in young adult, can you elaborate more on YA subgenres that you might consider?

Any and all except horror. Given today’s market, if you’ve got something paranormal or speculative, it needs to be unique and it needs to stand out from the crowd that’s already out there. I hate to say no to something that could be an amazing twist on themes that have been explored before, but dystopian is a pretty tough sell right now, so if you’ve got something dystopian, it’s unlikely that I’ll take it on, unless it has an amazingly fresh and unique spin. Same with paranormal. I’m not usually drawn to high fantasy, particularly if it requires maps, but if it’s something fresh and amazing, I’m open. Right now, I’d love to see a great contemporary YA – either completely realistic, or with a very smart science fiction or light fantasy element. No zombies, horror, or high fantasy. I adore a swoon-worthy romance with an intelligent heroine who isn’t simply swept off her feet by a hunky hero. Voice is paramount, but the writing and story need to be amazing, too. Specifically, I’d love to see a YA thriller with the pacing and twists of HOMELAND a YA Downton Abbey, a Southern gothic romance, and a YA Glee or Pitch Perfect or Big Bang Theory. I’d also be happy with a non-dystopian science fiction or light fantasy, in which the world-building just carries me off.

For middle-grade, I’d love to see something hysterically funny that isn’t a one-trick pony, or a voice-driven, poignant story like WONDER, or a sweeping, epic adventure. I also love literary middle-grade like WHEN YOU REACH ME, as long as it has a great hook or twist.

7. When accepting fantasy and sci-fi, what subgenres do you lean toward?

I tend to like light sci-fi and light fantasy, grounded in reality, or contemporary fiction with a sci-fi or fantasy twist. I don’t tend to like fantasy that requires maps or involves elves and great quests. On the other hand, if you have built an amazing world that I’ve never seen before, I’d be open to taking a look.

8. Will you be at any upcoming writers conferences where people can meet/pitch you?

Big Sur, VA Festival of the Book, SCBWI Northern California

9. Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

A writing platform is not important for unpublished fiction writers. For nonfiction, a platform can be important if you’re an expert in a certain area, but not as important as in adult non-fiction. That being said, an author who is already out there on social media is a big plus. Authors have to promote themselves, so someone who is social media savvy and well-connected will catch my eye if their manuscript is amazing. But, if you’re writing YA fiction, don’t worry that you have to get out there and establish some sort of platform before submitting your work.

10. Best piece(s) of advice we haven’t discussed?

Never stop reading, particularly in the category that you’re interested in. Just because you’re a fabulous YA author, it doesn’t mean that you know how to write middle-grade or picture books. Don’t try to write to trends; you can’t catch them. Write the best book that you want to write. Develop a thick skin, and keep it on. Always remember that this is a subjective business, and, just because one agent or editor doesn’t like something, doesn’t mean that another won’t fall in love with it. It only takes one. On the other hand, if a number of professionals are giving you similar suggestions about your work, it might be worth listening. Check your hubris at the door, but bring your passion with you everywhere that you go.

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I’ll be teaching another course through Savvy Authors called, “Building an Audience: Finding Readers for Your Blog and/or Your Writing” starting on February 25th. As a special bonus, five of the course participants will win a copy of Scrivener! If I get over 100 participants, I’ll be giving away a new Kindle! The course is $20 for Savvy members and $30 for everyone else. Please see below for a detailed description. I hope I see you there!

Building an Audience: Finding Readers for Your Blog and/or Your Writing

Learn how to build your brand from an experienced book publicist. This course is designed for bloggers looking to increase their website visibility, writers seeking literary agents and/or publishers, and published authors who want to expand their audiences without spending a ton of money on advertising.

What can this course offer an unpublished writer seeking an agent or publisher?

In this dismal economy, publishers are looking for more of the “sure-thing” and taking less chances on unknown authors. One way to make yourself stand out in the slush pile is to build your audience even before your book is sold. Social media and a personal blog can do exactly that for you. All you need are some basic tools and 15-30 minutes a day.

How can a published author benefit from this course?

Do you want to grow your audience, but unsure how without spending a ton of money on advertising? I can show you how to drive readers to your blog and give you techniques to target readers in your genre. In this course, I’ll discuss all my favorite outlets and go over in detail how I used them to build an audience for my clients.

Will this course help bloggers increase the traffic on your site?

Yes, the same lessons I teach writers will also work for bloggers. In this course, I’ll discuss ways you can improve your blog and what techniques you can use to drive traffic to your site. You can do it for free and it will only require 15-30 minutes a day. Within each of the four lessons, there will be specific portions dedicated to blogging.

You can register HERE!

Stacey O’Neale is a freelance writer, book blogger, and a senior publicist with Entangled Publishing. She has participated in panels at Book Expo America and the Virginia Festival of the Book. In addition, she teaches social media and publicity courses through Savvy Authors.

Susan Hawk represents authors who write for children of all ages, babies to teenage.

I come to The Bent Agency from Children’s Book Marketing, where I worked for over 15 years, most recently as the Marketing Director at Henry Holt Books for Young Readers, and previous to that as the Library Marketing Director at Penguin Young Readers Group. While at Penguin, I also worked for a time in Dutton Editorial, acquiring projects for that list. My favorite part of that time was being able to read new submissions — finding something wonderful and imagining where it can go was thrilling to me then and remains so now.

I handle books for children exclusively: picture books, chapter books, middle grade and YA, fiction and non-fiction. In middle-grade and YA, I’m looking for something that makes me laugh out loud, I’m a sucker for bittersweet, and I can’t resist a character that comes to understand how perfectly imperfect the world is. I want a book to stay with me long after I finish reading, and I’m looking for powerful, original writing. I’m open to mystery, sci-fi, humor, boy books, historical, contemporary (really any genre). My favorite projects live at the intersection of literary and commercial. In non-fiction I’m looking for books that relate to kid’s daily lives and their concerns with the world. In picture books, I’m looking particularly for author-illustrators, succinct but expressive texts, and characters as indelible as my childhood favorites Ferdinand, Madeline, George and Martha.

1. What is the best part of being a literary agent?

Calling a client to let her know that we have an offer! A close second is reading something and knowing within just a couple pages, that I love this project.

2. How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

Though I love falling in love with a book, I don’t represent books, I represent writers. I want to form a long-term partnership with my clients, helping to build and develop their career over time. A key part of that is open and honest communication, from both sides, and a mutual understanding that we’ll both work hard to reach the goals we set.

3. What’s something coming out now/soon that you’ve represented and are excited about?

I’m very excited about The Ninja Librarians of Passaic, coming from Sourcebooks in Spring 2014, a fabulous fantasy novel about a girl who falls into a magical and mysterious library, whose wings stretch through time. It’s an amazing world, a great adventure, and the main character is a particular favorite.

Another project I’m thrilled about is 17 First Kisses, a YA novel also coming in the Spring of ’14 from Harper. It’s the story of best friends competing for the new boy in town – who may or may not be worth it – told in chapters that alternate between senior year and the past, revealing family loss and the history of this knotty best-friendship.

4. What are the primary mistakes you see writers make in the query process?

Sometimes I see proposals that feel as though the author has spent more time thinking about how the project should be marketed than writing the very best book they can. I think writers can get caught up in how competitive the book market is. And it is very competitive, so I can understand that. Still, dreaming up marketing plans may come at the expense of your project and in the end, what makes me excited isn’t your marketing expertise, it’s your writing. Don’t ever shortchange that.

5. With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

I want a book that grabs me from the first line and gives me an immediate, strong connection to the main character. I want to fall in love! Anything that gets in the way of that could stop me – too much exposition, a setting or character description that feels familiar or weak, writing that doesn’t read smoothly, or feels workmanlike.

6. Your agency website says that you’re interested in young adult, can you elaborate more on YA subgenres (i.e. fantasy, sci-fi, etc.) that you might consider? When considering middle grade manuscripts, what subgenres do you lean toward (i.e. fantasy, sci-fi, etc.)?

I’m open to most any genre in both young adult and middle grade, as long as the characters are vital and complex, and I’m captured by the voice. My taste skews literary, though I do want strong plotting and for something to happen to the characters.

I hate to rule genres out because as soon as I do, I read something unexpected and wonderful that based on genre alone, I might not have picked up. That said, I’m not usually drawn to books about horses, animal adventures, wilderness survival stories, or straight-up romance. But if you’re planning on querying me with a project like that, don’t worry – you might have the horse book that will change my mind about horse books, so send it along!

There are some genres I love: mystery, science fiction, and witty, sly humor. I like thrillers, ghost stories and horror, but shy away from anything too bloody or gross – give me tons of creepy atmosphere and I’m happy. I’m interested in books with unreliable narrators, and unique or experimental writing styles. I’ve always loved historical fiction, am especially drawn to English history, and want stories about times and places that haven’t been covered before. I’ve been a fantasy reader forever, though I’m not looking for high fantasy, or anything Tolkienesque. I’m also interested in graphic novels and author-illustrators for picture books.

7. Will you be at any upcoming writers conferences where people can meet/pitch you?

I’ll be at the 2013 SCBWI Agent’s Day in Newport Beach, California in March, the Niagara Falls Writers/Illustrators Retreat and Conference in May, and SCBWI Carolinas 2013 Annual Conference in September. I hope to do a few more conferences as well, so check our Agency blog for updates: http://jennybent.blogspot.com/.

8. Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

I don’t make the decision to take on a debut author on the basis of their platform, but I do think it’s helpful for an author to have established some online presence. But before doing that, it’s a good idea to think about the time you have to maintain such a thing. Writing daily, or even weekly, blog entries can be very consuming. Creating a twitter account and following agents, editors and more established authors can take much less time. The writer knows what will work best in their life. I do think that there are so many sources of information for writers out there, and it’s a good idea to tap into that!

9. Best piece(s) of advice we haven’t discussed?

Never stop reading. Join or create a writer’s group, if you haven’t already. Take a break and go do something that has nothing to do with writing or your book – none of us are any good if all we do is work, and you never know how something unexpected will inform your project. And have fun!

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Sarah LaPolla is an associate agent at Curtis Brown, Ltd. She studied creative writing at Ithaca College and has an MFA in creative nonfiction from The New School. She started working in the foreign rights department at Curtis Brown, Ltd. in 2008 and became an associate agent in 2010. Sarah represents both adult and YA fiction. For adult books, she is looking for literary fiction, urban fantasy, magical realism, dark/psychological mystery, and literary horror. On the YA side, she welcomes all genres and is drawn to unique voices and strong, complex characters.

1. What is the best part of being a literary agent?

Working with my clients. They’re my favorite people. They’re talented and fun and professional, and a pleasure to work with. Making sure they, and their books, are given respect and attention is something I’m honored to do for them.

2. How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

I expect an author to understand my function as their agent and understand that I’m on their side. Authors sometimes get territorial about their work, with good reason, but sometimes this makes them paranoid that agents are secretly out to get them or don’t know what they’re talking about. I can’t work with someone who doesn’t trust that I have their best interests in mind. I also expect an author to be honest and professional with me the same way they should expect me to be toward them.

3. What’s something coming out now/soon that you’ve represented and are excited about?

Coming up later this year (November), FAULT LINE by Christa Desir is being published by Simon Pulse. It’s a debut contemporary YA about a girl who is sexually assaulted at a party and spirals downward. What’s unique about this one is it’s told from her boyfriend’s perspective, who wants to “save” her and watches as she disintegrates. It’s such a powerful story and Christa is a phenomenal writer. Also, half of the proceeds of the book are going to the Voices and Faces Survivor Testimonial Workshop, which is an organization dedicated to giving a voice to survivors of sexual abuse.

4. What are the primary mistakes you see writers make in the query process?

Querying before they’re ready. This can mean either the book itself wasn’t ready to query or the authors hadn’t yet put in enough research to query the right people.

5. With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

Beautiful writing will keep me reading, but even that will only take a writer so far. I need the catalyst for the plot to make itself known by at least Chapter 3, if it doesn’t happen in Chapter 1. This varies based on genre and style, of course, but usually that’s around the time I get antsy and wonder where the writer is taking me. If the story isn’t going anywhere, or the character has stopped keeping my interest, I don’t read further.

6. On the YA side, can you elaborate more on YA subgenres you find most appealing?

I like the same genres in YA as I do in adult. YA is an age group to be marketed to; not a genre. My taste is more literary and contemporary, so I tend to gravitate toward character-focused stories even if I’m reading a mystery, sci-fi, fantasy, or horror (my sub-genres of choice).

“Subgenres” of YA are fun because they don’t really exist. They all get shelved in the YA section of a bookstore. With the exception of Paranormal Romance, no other genre has gotten its own heading. Fans of genre fiction might not like this, but for teens I think it’s great. There’s no segregation involved the way there is with adult fiction. Don’t like sci-fi? Don’t go to the sci-fi section. But with YA, you can’t help but see everything it has to offer, so you don’t miss out on anything.

7. On your agency ‟about” page, you listed magical realism as an interest. This term is confusing to many aspiring writers. How do you define it?

The ultimate question! It’s hard to define. It’s more like “I know it when I see it.” But, I shall do my best: Magical Realism is a subgenre of literary fiction that infuses fantastical elements into a story without them being essential to the plot. It’s *not* fantasy, paranormal, or urban fantasy. The “realism” part of magical realism should be the main setting of the story. Magic is just a weird little addition that enhances it.

8. Will you be at any upcoming writers conferences where people can meet/pitch you?

I’ll be at the Writer’s Digest “Pitch Slam” in New York in April, the Backspace Writer’s Conference, also in New York, in May, and will be attending the Jackson Hole Writer’s Conference in Wyoming in June.

9. Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

I love social media and think writers are doing themselves a disservice by not following agents and editors and other writers on Twitter. But, no one should feel the need to participate in social media until they feel comfortable enough to know how to use it. There’s no shame in lurking and getting your feet wet first.

“Platform” isn’t something I usually care about because I work primarily with fiction, and I work mostly with debut authors. With fiction, the story needs to speak for itself. Not having publication credits or a huge online platform matter very little if the novel is brilliant. I work with my authors to build that “platform” after the fact. Nonfiction, however, requires more of a presence and those writers do need a platform before an agent will look at their work. If a project is good enough, an agent will work to build that platform for them, but they won’t try selling the book to publishers until there’s one already there.

10. Best piece(s) of advice we haven’t discussed?

Don’t give up. If you query 100 agents and get 100 rejections, write something new and query again. Keep trying until the right project finds you the right agent.

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Sarah Davies is based in Washington DC and heads the North American side of the Greenhouse, so if you live in the States or Canada you should submit work to her (see submission guidelines for more information). Sarah has more than 25 years’ experience of children’s publishing, moving to the USA from London in 2007. She started her career at Collins (before it was HarperCollins), followed by a spell at Transworld/Random House. In 1994 she joined Macmillan Children’s Books in London as Fiction Editor, rising through the editorial ranks to Publishing Director (and member of the Management Board), a position she held until 2007 when she left to start Greenhouse.

In her publisher incarnation, Sarah worked with and published many high-profile writers on both sides of the Atlantic. As an agent she has shepherded many debut (and several previously published) authors to success. She has considerable experience in contract negotiation, marketing and rights, as well as a strong understanding of digital developments. Excellent publishing contacts in both the USA and Britain, and homes in both countries, have given her an unusually transatlantic view of the children’s books industry, enabling her to represent authors directly to both markets. Sarah makes regular trips to New York and London, meeting publishers and keeping in touch with the book scene.

A member of AAR and SCBWI, Sarah is an experienced speaker on issues connected with children’s books and creative writing and attends international bookfairs, American writers’ conferences, and industry events throughout the year. She loves talking to writers about their work and says, ‘Everything you need to know about Greenhouse is embodied in its name.’

Married to an American, Sarah has twin sons who are more-or-less grown-up now, and who taught her much of what she knows about young people and reading.

Interview

What is the best part of being a literary agent?

There are so many parts of the job that I enjoy! I love discovering a great new voice, a great new story concept; the knowledge that I’m unearthing a new talent for readers to enjoy. But I also enjoy the business side – particularly negotiating deals and getting optimum terms for my clients. And then, of course, there’s nothing more exciting than telling a new writer that they’ve achieved their life’s ambition – and yes, they really will be published! Such an amazing phone call to make.

How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

My philosophy is really all in our agency name – Greenhouse – and that’s why I chose it. I see myself as both a talent scout and a talent developer. I’m looking for exceptional promise rather than a perfect manuscript, and I have nearly three decades of editorial and management experience behind me to help a new writer grow in their craft and career.  I want to provide the ‘good soil’ and the ‘sunshine’ of support and knowledge – but also to challenge writers to dig deep.

In the best author/agent relationships there will be trust and mutual respect; the shared understanding that both sides will always do their best and work their hardest. An agent doesn’t have a crystal ball to predict the future. The way I see it is that my clients and I are holding hands on the journey of shared effort, shared risk, shared goals. We want to build long-term careers if at all possible.  You might say that we are professional friends and business partners to our clients.

What’s something coming out now/soon that you’ve represented and are excited about?

So many great books to choose from! New York Times Bestseller Brenna Yovanoff’s new YA novel, PAPER VALENTINE (Razorbill), publishes in January – a wonderful, scary story that  will delight her fans. But we also love our debut authors, and I can hardly wait for Caroline Carlson’s funny and thrilling middle-grade series, THE VERY NEARLY HONORABLE LEAGUE OF PIRATES (HarperCollins), which launches in Fall ‘13.  We’ve just finalized auctions on that in the UK, Spain, Germany, and France – which is a very unusual coup.

What are the primary mistakes you see writers make in the query process?

Being in too much of a hurry. Not doing enough research on agents. Trying to send out too many query letters at a time (and making bad mistakes, like addressing the agent by the wrong name!). Not reading agency guidelines. On the other hand, some writers try almost too hard, giving huge amounts of information or giving the synopsis twice. For Greenhouse your query email should be no longer than the equivalent of one page.

Oh, also, we don’t like people who brag in an over-the-top way about themselves, or who liken their work to Harry Potter, C.S. Lewis or Stephanie Meyer.  And we certainly don’t like rudeness!

With fiction partials, what makes you stop reading and start skimming-or stop reading altogether?

An opening I’ve seen lots of times before. Flat or stiff writing that feels plodding. Dumps of information that are full of ‘tell’ rather than ‘show’.

Generally, bear in mind I’m looking for a storyline that feels new and different to what I generally see, and a voice that really pops for me personally. So I’m primarily thinking, ‘Do I really love this? Is this a story, a voice, I simply MUST represent?’ Because that’s the kind of conviction I need to feel to take on a new client.

Your agency website says that you’re interested in young adult, can you elaborate more on YA subgenres (i.e. fantasy, sci-fi, etc.) that you might consider?

I don’t really think in terms of genre. Categories don’t terribly interest me. I’m open to anything that leaps out at me personally. I would have said I wasn’t a huge fan of verse novels – and then I spotted one that completely changed my opinion. I am ready and waiting to be blown away!

That said, I’m arguably not the best agent for either very high fantasy or sports stories (being a Brit I lack a background in American football and baseball!).

When considering middle grade manuscripts, what subgenres do you lean toward (i.e. fantasy, sci-fi, etc.)?

As above, I don’t particularly lean anywhere; I am very open. Though I do like twisty and adventurous stories/mysteries – and great, classic fiction for girls that is full of heart.

Will you be at any upcoming writers conferences where people can meet/pitch you?

Very unusually, I’m not doing a conference in the first half of 2013, though I’ll be at ALA Midwinter in Seattle in January, and also at the opening of the SCBWI National Conference in New York. However, I’m speaking at the conferences of SCBWI Carolinas in September,  SCBWI Mid-Atlantic in October, and SCBWI Illinois in November. A very busy Fall!

Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

For agencies, I see Facebook and Twitter as basic tools of communication and networking. We probably have as much traffic through our Greenhouse Facebook Fan Page as through our website! We also tweet writing/industry tips through #GHLtips.

For new writers I feel social networking is a useful way to learn about the business – agents, publishers, craft, good articles etc. Getting on there and just following industry people is a great way to learn and make friends/contacts. However, for me none of this is really mandatory at the outset – it wouldn’t be a determining factor in deciding whether or not to represent someone. It’s always ALL about the writing. The only important thing is an openness to participating fully in all forms of promotion down the line. There’s no point getting a deal and then refusing to help publicise your book.

Best piece(s) of advice we haven’t discussed?

There’s always a lot of anxiety around topics like genre, agents’ tastes, social networking, the future of digital publishing etc etc. It’s easy to get caught up in the noise of  all these questions. However, for me the focus is always on two things:  1) a great story that I’ve not seen before and 2) a voice and mastery of writing craft that make that story shine. If you have those two ingredients, you WILL be discovered.

So the keys to all this are both beautifully simple, and beautifully hard! But at least the goals are clear. Concentrate on learning how to write really well, and on finding a great story to tell. Everything else can wait.

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Kerry holds a BA in English with a minor in Classical Studies from NC State University. She has extensive freelance editing experience, and teaches various fiction writing classes at a local college. She’s an Associate Editor with Entangled Publishing, and is Managing Editor of the Covet line, Entangled’s paranormal contemporary line. In addition to editing, Kerry writes science fiction, romantic fantasy, and paranormal romance. In her free time, she is a costumer, artist, cat collector, and guitarist. Kerry loves the whole spectrum of speculative fiction, from hard scifi to space opera to sociological. She loves dystopian futures and alternate histories, especially when combined with a compelling voice and an unusual twist. She also enjoys urban fantasy, high fantasy, and paranormal thrillers, and gravitates toward strong female leads who are intelligent and can save themselves and fall in love. She is open to stories of love in any of its many forms and any heat level.

Interview:

1. What is the best part of being an editor with Entangled Publishing?

Working directly with authors is my absolute favorite thing about working at Entangled. I love “talking shop” about books, ideas, and writer-ly things. Editing can be lonely work—so any chance I get to interact with the authors I am editing with, I cherish.

2. What’s something coming out now/soon that you’ve edited and are excited about?

To be fair, I love every single book I’ve worked on. At Entangled, we don’t edit a book we don’t love. To be able to be the best editor possible, you really need to care about the manuscript. Otherwise, editing is just a job—and what is the fun of that?

3. What are the primary mistakes you see writers make in the query process?

I am shocked by the number of queries that come in that don’t pay attention to the submission guidelines posted on the Entangled website. No, we don’t accept children’s picture books, or books about such-and-such banned topic—no matter how well you think it is written. Sure, we want the shiny new and exciting things, but we don’t want things that make us go ick. *Please* follow the guidelines.

4. With partial requests, what makes you stop reading and start skimming-or stop reading altogether?

For me, if I don’t love the main character pretty quickly, the manuscript doesn’t really stand a chance. I am fairly patient with excessive narrative, backstory, and even grammatical mistakes—but if the hero/heroine are boring, why read?

5. Can you tell us about your role in EP’s new category line, Covet?

Covet is Entangled’s new paranormal contemporary shorter romance line. I am Managing Editor, which means I help schedule things and work with authors on their paperwork—things like gathering an author bio, professional photo, blurbs, etc.

6. The Covet line is currently open to submissions. Can you tell us what you’re seeing a lot of and what you’d like to see more of?

We’ve seen many vampire stories come through submissions—and that is a good thing! We love a unique twist on Mr. Dracula, so keep sending those vamp stories. And I’d love to see more mythological creatures, more witches, more fairies—and more humor.

7. Will you be at any upcoming writers conferences where people can meet/pitch you?

Let’s see. I plan to be at RWA Nationals, RT, and hopefully AAD. I will also be at the Rocky Mountain Fiction Writers’ Conference. That is all I have planned at the moment.

8. I noticed you’re pretty active on your twitter account. Are you a fan of social media for aspiring writers?

Absolutely! Both Twitter and Facebook, when used wisely, are great tools for authors. You can meet other authors and publishing professionals and share info—the latest and greatest blogs, books you love, and new releases and acquisitions.

9. Best piece(s) of advice we haven’t discussed?

Don’t compare yourself to other writers. You are unique. Make time to do your own thing every single day. Write on!

Contest Details:

One person will receive a query critique from Entangled editor, Kerry Vail. Editors make acquisitions for Entangled, so if she’s interested, she’s in a position to buy manuscripts! The contest will run from November 1st - November 30th.

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Pooja Menon joined Kimberley Cameron & Associates as an intern in the fall of 2011, with the aim of immersing herself in the elusive world of books and publishing. She soon realized that being an agent was what she was most drawn to as the job was varied and challenging. She represents both fiction and non-fiction for Adult and YA markets.

1)     What is the best part of being a literary agent?

I love everything about being an agent. My favorite part, though, is the process of discovering manuscripts in my inbox that make my heart slow down considerably. When I find myself savoring each word in a manuscript, that is when I know I’ve got to represent that particular book and author. I also love the process of editing. It’s like putting together a puzzle, and making sure the right chapters and scenes go in the right places, in a way that makes the book even stronger. Being a chronic reader, this profession allows me to think, breathe, and talk about books to people who are equally obsessed with the publishing world. That is a truly enjoyable experience. Makes me thankful for each day!

2)     How would you summarize your personal agenting philosophy? What do you expect from an agent-author relationship?

There are four things that are very important for a successful agent-author relationship–communication, trust, respect, and honesty. As an agent, I envision my relationships with my authors to be long-term ones. I want to represent them for the entirety of their career, if possible. Which means, the author and I should be able to communicate, right from the beginning, what the both of us expect from each other. I would also like for us to have an interactive relationship where she feels comfortable calling or emailing me whenever needed, without any reservations. In terms of being an agent, I am the kind of person who will not hold back in terms of editing and revisions. Sometimes, this might be hard for the author to accept. I understand this. But as a third person, she needs to trust that I will be able to help her by giving her a reader’s perspective. She should know that the only reason I’m representing her is because I LOVE her work and want to get it into the best shape possible, so that I can get it into the hands of the right people. People who will appreciate her work as much as I do.

On the author’s side, I would expect her to be aware of what is going on around her, in the world and in the publishing scene. I would like her to have an inexhaustible well of future ideas that are current or prolific. She needs to be a social media junkie, to be actively building her platform (fiction or non-fiction), and to be writing every day. This is extremely important in today’s publishing climate, to build a base of followers or friends within which to promote your body of work, and to hone your craft. I would also expect us to have a mutually respectful relationship where we can bring our thoughts, feelings, ideas, and opinions to the table, knowing that we’re in a partnership, and it’s okay to have disagreements sometimes. In the end, I will be the fiercest advocate for her work.

3)     What’s something coming out now/soon that you’ve represented and are excited about?

Since I’m a new agent (about two months new), I’m still in the process of searching for the right projects and building my client list. I was an intern/assistant for the past ten months before I became an agent, so I’ve been honing my editorial skills by helping Kimberley and Liz with their projects. Now I’m ready to find my own. As of now, I’m excited about two women’s fiction projects and one memoir that have come across my lap. If things go well, I should be able to begin shopping them out soon.

4)     What are the primary mistakes you see writers make in the query process?

Going through all that effort to create the perfect query letter, synopsis, and sample chapters…then sending it to the wrong agent. Writers should research widely and make a list of agents that deal specifically with their genres before sending their query letters out. They’ll have a lesser chance of getting rejected.

5)     Your agency website says that you’re interested in young adult, can you tell us what you’re seeing a lot of and what you’re not seeing enough of? (Your “dream projects, so to speak.) 

I see a lot of YA crowded with vampires, werewolves, faeries, demons, and lately, psychics. These days, it’s not just enough to be in possession of a well-written manuscript. You have to ask yourself how your book is different to the countless others that saturate the market. There needs to be a whole fresh angle that hasn’t been done before. In terms of what I’d love to see more of in YA, stories with edgy new concepts and flawed but lovable characters would be it. I’m open to YA in ALL genres. But there has to be something different about them for me to get really hooked. That would be my dream project.

6)     When accepting fantasy, what subgenres do you lean toward?

That’s a difficult question. In general, I’m looking for a good story. It can be in any genre. Contemporary, historical, fantasy, steampunk, urban fantasy, adventure, dystopian, romance, paranormal romance, historical fantasy…are there any subgenres I’ve missed? I prefer not to lean towards anything, as I do not want to restrict myself.

7)     Will you be at any upcoming writers conferences where people can meet/pitch you?

I’ll be attending the TMCC Writers’ Conference in Reno, which is on the 27^th of April. I expect to add some more to the list as the months go by. But for now, Reno it is!

8)     Is a writing platform important for unpublished writers? Does it weigh in on your decision to represent? Are you a fan of social media?

Yes and no. I think it certainly helps if a writer has some writing credentials to his name. Their queries are looked at with an extra layer of curiosity when we see that they’ve been published in journals and literary magazines prior to querying us. That being said, if the writing is strong, credentials and platform will be the last thing on our minds. However, in the case of non-fiction, platform is detrimental. Editors at publishing houses do not consider proposals without a solid platform. So, unless the non-fiction query is extremely zoned into what is going to be HOT in the market in the next two years, and is superbly written, I may decide to pass up on it. As for whether I’m a fan of social media, since I started at KC&A, I’ve begun to be stricter about keeping up a blog and twitter account, because it’s the easiest way to reach out to writers and people in the publishing community. Therefore, it’s become very important to be adept at social media, to keep up with the changing technological trends.

9)     Best piece (s) of advice we haven’t discussed?

One, read a lot. Read across all genres. This builds up your vocabulary and keeps you current on what’s hot in the market. Two, write everyday. Doesn’t matter what you write—it could be journaling, writing outlines to possible stories, poems, lists of ideas—keep that hand moving. Third, when writing and polishing your manuscript, be consistent with the entire book. Most often, I see that the first fifty pages of a manuscript are tight, clean, and well written. But after the fifty-page mark, things start to slide downhill.

Contest Details:

One person will receive a query critique from literary agent, Pooja Menon. The contest will run from October 5th - October 31st.

How to Enter:

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Name: Lauren McKellar

Email: HIDDEN

Title: LOSING IT

Genre: Contemporary YA

Word Count: 46,000

17 year-old Amy is abandoned by her rock star father and sent to live in a country town. Drinking, partying, and falling for the wrong guy sees Amy spin from depression to self-destruct mode, as her dangerous habits spiral out of control.

When faced with a friend’s overdose, Amy can no longer hide from her past; she has to stop losing herself and face her future before it’s too late.

My Two Cents:

This sounds like it could be really good and deeply emotional. I would give it a read for sure! The major issue I see is the word count. Most guidelines state that a contemporary YA must be above 55,000 words. This could cause you to be rejected even before someone reads your query. The other issue is I’m not reading much in terms of a plot. What happens to Amy because of all the self-destructive behavior? Is the friends death her fault? I’m not seeing your story structure.

I played with the wording a bit and this is what I came up with:

After being abandoned by her rock star father, seventeen-year-old Amy is sent to live (with who?). Her depression and self-loathing quickly lead to drinking, partying, and falling for the wrong guy. A friend’s overdose forces her to confront her past and change her future before it’s too late.

Good luck!!!

Stacey O’Neale is a writer, book blogger, and a senior publicist with Entangled Publishing. She has participated in panels for Book Expo America and teaches courses through Savvy Authors. Beyond her websites and speaking engagements, you can find her on Goodreads, Twitter, and Facebook.